In 1983 Adam Ant approached one of his hottest contemporaries on the British music scene to produce and play on his second solo studio album. Ant Lib tracked down the Landscape co-founder/drummer-turned-Spandau Ballet knob twiddler Richard Burgess at the end of 1999 with some questions from our members. He shares memories of his summer in Stockholm within Adam’s orbit, and his reflections on the derided 2nd solo ellpee.

Did you have any contact with Adam Ant or Marco Pirroni before undertaking the Strip LP project?
No. I got an anonymous call from their office about 2 or 3 weeks before I was due to move to New York from London. It was only because I was moving that I was available at such short notice.

How did you become involved with the production of the Strip album?
They called and asked if I was available. I said, “Depends what for…”. When they told me, I jumped at the opportunity and postponed moving to NYC for 4 months.

What was your initial reaction to Adam’s approach / theme for the album?
I really didn’t question it. He had such a track record at this point that I trusted him on that front.

How was Adam to work with? (i.e. Who bossed who?!)
I don’t remember any bossing particularly. This was the first co-production I had done but I’m used to working in different roles from my days as a studio musician so, for instance, when I was playing drums, they would critique and I needed that. It’s hard to be objective when you’re playing the parts. When they played, I critiqued.

Did you feel crowded with both Adam and Marco working so closely with you on production?
No. They worked together very instinctively. My job was to get the best out of them. They were very involved in the overall production.

Did you have much contact with Phil Collins for the production of Puss ‘n Boots?
None at all. He came and went before I got there.

How did you initially feel about the complete product of the Strip LP?
I was very happy. At the time I felt we had a number of single possibilities and Adam and Marco seemed happy too.

Were you disappointed with the songs lifted from the album?
I was. I felt there were a number of missed opportunities. I felt that the label was winding down on support for Adam in general.

How did you feel about the ‘pantomime’ image Adam promoted the album with?
As I said, I trusted Adam implicitly with all that. As the producer, none of that was really in my realm of concern anyway.

In hindsight, is there anything you would’ve done differently for the album?
Given the exact same circumstances no. If I could change the circumstances I would have gotten involved earlier for pre-production. Most of my work is done in the pre-production period and we didn’t have that on Strip.

…there were a number of missed opportunities. I felt that the label was winding down on support for Adam in general.

Richard reflects on the commercial response to Strip

Are there any long-lost tracks that were left off the final cut we should know about?!
I can’t remember but I don’t think so. I’m sure everything went on the record.

What are your views on the alleged Adam & the Ants / D*ran D*ran / Spandau Ballet rivalries?
It was really something cooked up by the press. They were really three separate scenes within what became known as the New Romantic movement. Bear in mind that Adam was established well before Spandau and he came out of that King’s Road punk scene, whereas Spandau came out of the Blitz scene and Duran out of the Birmingham thing, so there was little contact in the early days. Certainly, I don’t think that anyone would have predicted that Duran would be the biggest of the three in the USA.

Can you tell us about your cover of Adam’s Press Darlings?
Actually, John Walters [fellow Landscape co-founder] and myself did a version of it for an ill-fated Hot Gossip album. Our version was never released, although it got incredible press reviews. [The album was recut with Heaven 17’s Martyn Ware & Ian Craig Marsh at the helm].

From a producer’s point of view, how do you think the music scene today [early 2000s] compares to that of the early eighties?
It’s completely different and exactly the same. I think if an artist came along with the exact same qualities as Adam now (strong image, great live performer, good melodies, hip for the time) I believe they would be just as successful. Obviously, music sounds a lot different now but I believe the rules are essentially the same.

Can you tell us more about your book The Art of Record Production?
It was my first book. I’d always said to myself that when I stopped producing, I would write a book. In 1995, I went into management fulltime and so I realised I had to fulfil my promise to myself. The book has sold really well – it is in its third print run I believe [now fourth, see below!] – and has become a required reading text book in many music colleges around the world.

Can you tell us about your current projects? Any more books?
No. That pretty much did it for me with books. Writing is very time consuming. Right now, I have an artist that I manage in the Top Ten at Alternative radio in the US called Jimmie’s Chicken Shack. I have two other artists signed to major labels, and I own an independent label called Fowl Records as well as a booking agency called Creative Booking International. I’m busy.

Are you familiar with Adam’s ’90s work?
I remember one album on MCA [Manners & Physique] in the late 80’s I thought was great. I haven’t heard the new stuff. I did see him acting on La Femme Nikita and thought he was wonderful.

If given the opportunity, would you work with Adam again?
I can’t quite see what capacity it would be in since we have gone in different directions but yes in that he is a very talented individual.

Are there any interesting / amusing stories you’d like to share with us involving Adam or Marco?
Probably most of them I can’t share. I do have very happy memories of that time in Stockholm though…

Twenty years later, RJB followed-up on the success of his debut book with the History of Music Production – both are highly acclaimed books in their field and available from Amascum: